Ryoki Miyama hiatus from BE:FIRST comes amid escalating scrutiny over his personal life and alleged past relationships. On May 30, BE:FIRST’s agency BMSG confirmed that Miyama will suspend activities after their July concert in Singapore. The statement followed online speculation involving past romantic partners and financial dependency claims. Consequently, Miyama acknowledged the situation publicly and offered an apology for the concern caused to fans and colleagues. As a result, Ryoki Miyama hiatus from BE:FIRST has since sparked national debate around accountability and privacy.
Meanwhile, online reports linked Miyama to YouTuber Akari Ono, known as R-chan, who allegedly supported him financially during their relationship. Shortly after, claims surfaced suggesting romantic involvement with actress Shuri, increasing public pressure on the artist. Although Miyama did not deny the reports directly, his announcement addressed emotional strain and personal responsibility. Furthermore, the agency framed the hiatus as a mutual decision reached through internal discussions. Ultimately, Ryoki Miyama hiatus from BE:FIRST appears to reflect the growing pressure idols face offstage.
Reactions from fans have ranged from disappointment to quiet support, showing the emotional complexity surrounding such announcements. For instance, some fans expressed sympathy for the difficult position Miyama finds himself in, citing the mental toll. However, others voiced frustration over the controversy and its potential impact on BE:FIRST’s group dynamic. Nevertheless, the agency confirmed BE:FIRST will continue with six members for upcoming performances and promotions. In the meantime, live events and other activities will remain unchanged for now.
Industry watchers noted the increasingly fragile line between personal freedom and public expectation for male idols in Japan. In particular, the story reignited conversations about the ethics of celebrity surveillance and media intrusion. At the same time, it raised questions about agency roles in protecting artists during crises. Clearly, idol culture demands a carefully curated image, leaving little space for missteps or complexity. Therefore, Ryoki Miyama hiatus from BE:FIRST becomes part of a broader cultural reckoning.
As Miyama steps back, focus will shift to how the group adapts without him in the short term. Moreover, his departure may influence how agencies address similar incidents moving forward. For now, both BE:FIRST and Miyama face scrutiny that goes far beyond music. Ultimately, how they respond may help reshape public perceptions around modern idols. Undoubtedly, the spotlight will remain intense as both storylines continue to unfold.
